John Duncan Fergusson Sold at Auction Prices

Painter, Illustrator, Etcher, Sculptor, b. 1874 - d. 1961

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            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £15,000 - £20,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) STANDING NUDE Hand-coloured plaster 19cm (h) x 9cm (w) x 7cm (d) (7.5in x 3.5in x 2.75in)  Acquired from the Artist and thence by descent to the present owner John Duncan Fergusson is the only one of the four artists known as the Scottish Colourists – along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe – to have worked in three dimensions. Indeed, he made sculpture over some 50 years, with his first created in Paris in 1908 and the last thought to date from about 1955. As Alice Strang has explained: ‘Experiments in terracotta in 1909 and clay in 1913, led to direct carving in stone outdoors during World War One. Carving wood and plaster, which he sometimes cast and coloured, followed. Works were cast in brass and bronze as funds permitted.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh 2013, p.21). The importance of this aspect of Fergusson’s oeuvre is clear in the inclusion of sculptures in many of his exhibitions between 1912 and 1948.Seated Figure and Standing Nude show how Fergusson brought many of the artistic aims explored in his paintings and works in paper to fruition ‘in the round’. Both focus on the female form, celebrating sensuality, fecundity and physical confidence. Particular attention is paid to the breasts, bottom and the base of the spine. They also reveal Fergusson’s particular blending of voluptuousness with a simplification and clarity of form, that emphasises the point at which parts of the body join and which creates a sense of flow towards and outwards from those points of contact. It is no surprise that Fergusson’s most productive period of sculpture making were the years approximately 1918 to 1922, when he was based in London and when – as Sheila McGregor has pointed out – there was a parallel development in Margaret Morris Movement, the system of choreography devised by his future wife. Morris and her pupils, whether sitting as models or in motion during lessons, rehearsals and performances, provided a rich source of inspiration for Fergusson.Standing Figure is an example of the painted plaster casts that Fergusson exhibited with the explanation that they could be cast in a foundry on purchase. The cropped female form is a key theme in his sculptural practice, presumed to reference fragmentary classical sculptures as well as contributing to his concept of a universal rather than personal embodiment of female physicality. Seated Figure has a sense of majestic stillness, albeit on an intimate scale. It embodies Fergusson’s interest in non-Western sculpture and his Parisian sketchbooks contain many drawings made of Cambodian and Indian sculpture which he studied in the Trocadéro Museum. It was cast in a numbered edition of nine plus one artist’s proof, with permission from the John Duncan Fergusson Art Foundation, in 2013.The most significant holding of Fergusson’s sculpture is held by Culture Perth & Kinross, which is the centre of excellence for his and Morris’s work. Other important examples are held in public collections including the Tate, The Hunterian (University of Glasgow), Government Art Collection and the National Galleries of Scotland.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £7,000 - £10,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) SEATED FIGURE Numbered 2/9, bronze 14.5cm (h) x 14.5cm (w) x 9.5cm (d) (5.75in x 5.75in x 3.75in) Plaster cast acquired from the Artist and thence by descent to the present owner; cast in bronze by them in a numbered edition of nine plus one artist’s proof in 2013. Cast in a numbered edition of nine plus one artist’s proof, with permission from the John Duncan Fergusson Art Foundation, in 2013.John Duncan Fergusson is the only one of the four artists known as the Scottish Colourists – along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe – to have worked in three dimensions. Indeed, he made sculpture over some 50 years, with his first created in Paris in 1908 and the last thought to date from about 1955. As Alice Strang has explained: ‘Experiments in terracotta in 1909 and clay in 1913, led to direct carving in stone outdoors during World War One. Carving wood and plaster, which he sometimes cast and coloured, followed. Works were cast in brass and bronze as funds permitted.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh 2013, p.21). The importance of this aspect of Fergusson’s oeuvre is clear in the inclusion of sculptures in many of his exhibitions between 1912 and 1948.Seated Figure and Standing Nude show how Fergusson brought many of the artistic aims explored in his paintings and works in paper to fruition ‘in the round’. Both focus on the female form, celebrating sensuality, fecundity and physical confidence. Particular attention is paid to the breasts, bottom and the base of the spine. They also reveal Fergusson’s particular blending of voluptuousness with a simplification and clarity of form, that emphasises the point at which parts of the body join and which creates a sense of flow towards and outwards from those points of contact. It is no surprise that Fergusson’s most productive period of sculpture making were the years approximately 1918 to 1922, when he was based in London and when – as Sheila McGregor has pointed out – there was a parallel development in Margaret Morris Movement, the system of choreography devised by his future wife. Morris and her pupils, whether sitting as models or in motion during lessons, rehearsals and performances, provided a rich source of inspiration for Fergusson.Standing Figure is an example of the painted plaster casts that Fergusson exhibited with the explanation that they could be cast in a foundry on purchase. The cropped female form is a key theme in his sculptural practice, presumed to reference fragmentary classical sculptures as well as contributing to his concept of a universal rather than personal embodiment of female physicality. Seated Figure has a sense of majestic stillness, albeit on an intimate scale. It embodies Fergusson’s interest in non-Western sculpture and his Parisian sketchbooks contain many drawings made of Cambodian and Indian sculpture which he studied in the Trocadéro Museum. It was cast in a numbered edition of nine plus one artist’s proof, with permission from the John Duncan Fergusson Art Foundation, in 2013.The most significant holding of Fergusson’s sculpture is held by Culture Perth & Kinross, which is the centre of excellence for his and Morris’s work. Other important examples are held in public collections including the Tate, The Hunterian (University of Glasgow), Government Art Collection and the National Galleries of Scotland.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £5,000 - £7,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) BOURNE END 'For Mrs Catto in friendship from Margaret Peploe’, inscribed on the label verso, pencil and watercolour 20cm x 25.5cm (8in x 10in) Margaret Peploe;Lyon & Turnbull, Scottish Paintings and Sculpture, 6th June 2019, lot 105 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £4,000 - £6,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUNBATHER, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D'ANTIBES (MARGARET MORRIS) Watercolour 19cm x 24cm (7.5in x 9.5in) Margaret Morris;Christie's Edinburgh, The Scottish Sale 1st November 2001, lot 100;Private Collection, Scotland. John Duncan Fergusson moved from Paris to Antibes, in the south of France, in 1913. Thus began an association with the area which was to last for the rest of his life. Shortly afterwards he wrote to his future wife, the dance pioneer Margaret Morris, excitedly explaining: ‘I’ve taken a little villa at Antibes..I went over the coast as far as Italy and this is the best there is for the money…[it]…faces the sun all day. Small garden which I’ll make quite good…the sea at the bottom of the road…There’s a little port for boats…and 10 minutes away…a fine sand beach with pine trees.’ (as quoted in Margaret Morris, The Art of J. D. Fergusson, J. D. Fergusson Art Foundation, Perth, 2010, pp.68-69) Morris visited Fergusson in this idyllic setting during the summer of 1914, but her stay was cut short by the outbreak of World War One. From 1917, she developed her renowned Summer Schools, which were held in Antibes on multiple occasions from 1923. As can be seen in the works presented here, ‘she and her pupils dancing outdoors, sunbathing and swimming in the sea inspired Fergusson to make numerous sketches and watercolours, which he later worked up into paintings in his studio, exemplifying the couple’s creative collaboration.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh, 2013, p.22).Whilst in the south of France, Fergusson and Morris led an active outdoor lifestyle, believing in the health benefits of the sun, exercise and good company. The Summer School was repeatedly held in the grounds of the Chateau des Enfants, the villa built by the couple’s patron, George Davison. Morris recalled ’The château woods ran to a bay facing due south, with cliffs of jagged rocks about twelve feet high and water about fifteen feet deep…Everyone bathed off the rocks and afterwards sun-bathed…When they got too hot, they dived into the sea again. Fergus got much inspiration.’ (Margaret Morris, op.cit., p.140).Such carefree moments are captured in works such as Drying off after a Swim, Sunbather, Chateau des Enfants (Margaret Morris) and Pink and Blue in which Fergusson worshipped at the altar of the body beautiful, working in charcoal and watercolour. The couple and their companions became synonymous with the natural beauty and leisure pursuits which have made Antibes and its surroundings amongst the most desirable holiday locations to this day.  Fergusson continued to extoll the virtues of the area, which saw him and Morris return year after year until a final visit in the summer of 1960. He wrote ‘You can walk round the island; go to the town which is very interesting; bathe off the rocks or on the sand beach; lie among the pine trees and watch the sea – looking over at Nice, Menton with the Alps behind; sit in the sun in the garden; go to Nice or Cannes and see chic people…walk to dozens of places or take the air; go up mountains….really, what more do you want? (as quoted in Morris, op.cit., p.69)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £3,000 - £5,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PINK AND BLUE, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D'ANTIBES Watercolour 24.5cm x 19cm (9.75in x 7.5in) Margaret Morris;Christie's Edinburgh, 1st November 2001, lot 102;Private Collection, Scotland. John Duncan Fergusson moved from Paris to Antibes, in the south of France, in 1913. Thus began an association with the area which was to last for the rest of his life. Shortly afterwards he wrote to his future wife, the dance pioneer Margaret Morris, excitedly explaining: ‘I’ve taken a little villa at Antibes..I went over the coast as far as Italy and this is the best there is for the money…[it]…faces the sun all day. Small garden which I’ll make quite good…the sea at the bottom of the road…There’s a little port for boats…and 10 minutes away…a fine sand beach with pine trees.’ (as quoted in Margaret Morris, The Art of J. D. Fergusson, J. D. Fergusson Art Foundation, Perth, 2010, pp.68-69) Morris visited Fergusson in this idyllic setting during the summer of 1914, but her stay was cut short by the outbreak of World War One. From 1917, she developed her renowned Summer Schools, which were held in Antibes on multiple occasions from 1923. As can be seen in the works presented here, ‘she and her pupils dancing outdoors, sunbathing and swimming in the sea inspired Fergusson to make numerous sketches and watercolours, which he later worked up into paintings in his studio, exemplifying the couple’s creative collaboration.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh, 2013, p.22).Whilst in the south of France, Fergusson and Morris led an active outdoor lifestyle, believing in the health benefits of the sun, exercise and good company. The Summer School was repeatedly held in the grounds of the Chateau des Enfants, the villa built by the couple’s patron, George Davison. Morris recalled ’The château woods ran to a bay facing due south, with cliffs of jagged rocks about twelve feet high and water about fifteen feet deep…Everyone bathed off the rocks and afterwards sun-bathed…When they got too hot, they dived into the sea again. Fergus got much inspiration.’ (Margaret Morris, op.cit., p.140).Such carefree moments are captured in works such as Drying off after a Swim, Sunbather, Chateau des Enfants (Margaret Morris) and Pink and Blue in which Fergusson worshipped at the altar of the body beautiful, working in charcoal and watercolour. The couple and their companions became synonymous with the natural beauty and leisure pursuits which have made Antibes and its surroundings amongst the most desirable holiday locations to this day.  Fergusson continued to extoll the virtues of the area, which saw him and Morris return year after year until a final visit in the summer of 1960. He wrote ‘You can walk round the island; go to the town which is very interesting; bathe off the rocks or on the sand beach; lie among the pine trees and watch the sea – looking over at Nice, Menton with the Alps behind; sit in the sun in the garden; go to Nice or Cannes and see chic people…walk to dozens of places or take the air; go up mountains….really, what more do you want? (as quoted in Morris, op.cit., p.69)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £10,000 - £15,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BOTANICAL GARDENS, ANTIBES Mixed media 23cm x 28cm (9in x 11in) Mme Autan-Lejeune;Private Collection, Scotland.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £40,000 - £60,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BOULEVARD MONTPARNASSE, PARIS Signed, inscribed and dated 1907 on the reverse, inscribed with title on Fergusson's own label verso, oil on board 28cm x 35.5cm (11in x 14in) Exhibited: Lyon & Turnbull, London and Glasgow, A Scottish Colourist at 150: J. D. Fergusson, February-March 2024 John Duncan Fergusson decided to move from Edinburgh to Paris in 1907 and was to live in the French capital for the next six years. His future wife, the dance pioneer Margaret Morris, later explained: ‘He settled in Paris, having sold all his possessions in Scotland except the sofa, made to his design – this, he had sent to Paris, where he could always sleep on it before he got a bed. First he stayed at the Haute Loire Hotel in Montparnasse, while he looked for a studio, which he eventually found at 18 Boulevard Edgar Quinet…Fergusson fully appreciated what a wonderful period of modern art he had dropped into in Paris. Soon he met Bourdelle, Friesz and Pascin at the Salon d’Automne and became one of what he described as a very happy group.’ (Margaret Morris, ‘Introduction’ in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Fergusson exclaimed that Paris was ‘simply a place of freedom’ and painted Boulevard Montparnasse, Paris not long after settling in the city. The neighbourhood was replacing Montmartre as the main artists’ quarter and Fergusson took to its cafés and bars with social aplomb. The Cafés Rotonde, Dôme and Closerie des Lilas were all along the Boulevard Montparnasse and Fergusson and his intimates became regular customers at all three. The boulevard was also a short walk away from the Luxembourg Gardens, where Fergusson could see the work of living artists on display at the Musée du Luxembourg. This painting comes from a series of vibrant street scenes in which Fergusson’s excitement about his new surroundings and the impact of contemporary avant-garde French painting is clear. He revelled in the depiction of the city’s architecture and citizens going about daily life, whilst his brushwork became bolder, his forms became simpler and his palette became brighter. Here, robustly realised trees in shadow give way to brightly lit bustling activity and on to a high façade, which itself gives way to a dazzling sky. Only two years later, Fergusson was elected a member of the cutting-edge Salon d’Automne in recognition of his contribution to the modern movement. Fergusson declared ‘to me, considering myself a revolutionary, this was a very great honour and…it had the effect of confirming my feeling of independence, the greatest thing in the world, not merely in art but in everything.’ (quoted in Kirsten Simister, Living Paint: J. D. Fergusson 1874-1961, Mainstream Publishing, Edinburgh, 2001, p.39)Further examples of Fergusson’s contemporary Parisian street scenes can be found in the collections of Perth Art Gallery, Manchester Art Gallery and the Royal Academy of Music, London. 

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £30,000 - £50,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) THE PINK TENTS, ROYAN Signed, inscribed and dated 1907 on the reverse, further inscribed with the title and signed in the artist's hand verso, oil on board 26cm x 35cm (10.25in x 13.75in) Wellington Fine Art, Glasgow from where acquired by the father of the present owner The Pink Tents, Royan reveals the dramatic development of John Duncan Fergusson’s practice following his move from Edinburgh to Paris in 1907. Its brilliant colour, bold simplification of form and bravura technique show how he responded to and evolved in his own manner, the very latest developments in the work of artists including Pablo Picasso, Henri Matisse and André Derain.Throughout his career, Fergusson combined working in a studio with more spontaneous sketching and painting whilst outdoors. In the Scottish capital he had become a familiar figure in Princes Street Gardens, using oil paint to capture scenes quickly on small panels, which demonstrated a familiarity with the French Impressionists, Eugène Boudin and James McNeill Whistler.Summers spent painting in France with his friend and fellow Scottish Colourist, S. J. Peploe from 1904 resulted in en plein air works characterised by a subtle palette, fluent handling and an emphasis on natural light. This can be seen in Grey Day, Paris-Plage of c.1906 (Kelvingrove Museum & Art Gallery, Glasgow, acc.no.3370) and Berneval, the Cliff (Kirkcaldy Art Galleries, acc.no.KIRMG:569). They also show how Fergusson’s eye was drawn to the formal possibilities of bathing tents, which preserved one’s modesty when changing in and out of swim wear, and which were popular during the Edwardian period. Fergusson settled in Paris in 1907. The Pink Tents, Royan resulted from a trip to the seaside resort on the west coast of France two years later. Fergusson was now working with a new kind of confidence, using thick, obvious brushstrokes laden with rich colours to evoke the texture of branches and fabric and to create rhythm throughout the asymmetrical composition. Black outlines delineate form and volume is flattened with a resulting emphasis on silhouette and a heightened sense of painterly design.Unsurprisingly, this painting dates from a key year in Fergusson’s career. In 1909 he exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, at 83 rue Notre Dame des Champs in the French capital. Moreover, his involvement with the heady creativity of pre-World War One Paris was recognised by his election to the avant-garde Salon d’Automne that year. Such was the inspiration that Fergusson found in Royan that he was to return to there in 1910, accompanied by his partner, the American artist Anne Estelle Rice and by Peploe.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £2,000 - £3,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) WOMAN ON A BALCONY (ANNE ESTELLE RICE) Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 143;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £600 - £800

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED MAN Conté 20cm x 12cm (8in x 4.75in) 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £1,500 - £2,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED NUDE Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 142;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £800 - £1,200

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) THE BROAD-BRIMMED HAT Charcoal 17.5cm x 12cm (7in x 4.75in) Exhibited: The Scottish Gallery, Edinburgh, The Scottish Colourists, November 2000, no.25.2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £2,000 - £3,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE AT LA PETITE FARANDOLE, CAP D'ANTIBES (MARGARET MORRIS) Charcoal 20cm x 15cm (8in x 6in) Margaret Morris;Christie's Edinburgh, The Scottish Sale, 1st November 2001, lot 106;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £2,000 - £3,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE ON A BALCONY Charcoal on brown paper 33.5cm x 26cm (13.25in x 10.25in) Christie's Edinburgh, The Scottish Sale, 31st October 2002, lot 140;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £2,000 - £3,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) NUDE, TAZZA AND FRUIT Inscribed, charcoal on brown paper 30.5cm x 23cm (12in x 9in) Sotheby's Hopetoun House, Fine Paintings, 15th April 2002, lot 167;Private Collection, Scotland. 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £2,000 - £3,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) DRYING OFF AFTER A SWIM, CHÂTEAU DES ENFANTS, EDEN ROC, CAP D'ANTIBES Charcoal on brown paper Margaret Morris;Christie's Edinburgh, The Scottish Sale, 1st November 2001, lot 104;Private Collection, Scotland. John Duncan Fergusson moved from Paris to Antibes, in the south of France, in 1913. Thus began an association with the area which was to last for the rest of his life. Shortly afterwards he wrote to his future wife, the dance pioneer Margaret Morris, excitedly explaining: ‘I’ve taken a little villa at Antibes..I went over the coast as far as Italy and this is the best there is for the money…[it]…faces the sun all day. Small garden which I’ll make quite good…the sea at the bottom of the road…There’s a little port for boats…and 10 minutes away…a fine sand beach with pine trees.’ (as quoted in Margaret Morris, The Art of J. D. Fergusson, J. D. Fergusson Art Foundation, Perth, 2010, pp.68-69) Morris visited Fergusson in this idyllic setting during the summer of 1914, but her stay was cut short by the outbreak of World War One. From 1917, she developed her renowned Summer Schools, which were held in Antibes on multiple occasions from 1923. As can be seen in the works presented here, ‘she and her pupils dancing outdoors, sunbathing and swimming in the sea inspired Fergusson to make numerous sketches and watercolours, which he later worked up into paintings in his studio, exemplifying the couple’s creative collaboration.’ (Alice Strang et al, J. D. Fergusson, National Galleries of Scotland, Edinburgh, 2013, p.22).Whilst in the south of France, Fergusson and Morris led an active outdoor lifestyle, believing in the health benefits of the sun, exercise and good company. The Summer School was repeatedly held in the grounds of the Chateau des Enfants, the villa built by the couple’s patron, George Davison. Morris recalled ’The château woods ran to a bay facing due south, with cliffs of jagged rocks about twelve feet high and water about fifteen feet deep…Everyone bathed off the rocks and afterwards sun-bathed…When they got too hot, they dived into the sea again. Fergus got much inspiration.’ (Margaret Morris, op.cit., p.140).Such carefree moments are captured in works such as Drying off after a Swim, Sunbather, Chateau des Enfants (Margaret Morris) and Pink and Blue in which Fergusson worshipped at the altar of the body beautiful, working in charcoal and watercolour. The couple and their companions became synonymous with the natural beauty and leisure pursuits which have made Antibes and its surroundings amongst the most desirable holiday locations to this day.  Fergusson continued to extoll the virtues of the area, which saw him and Morris return year after year until a final visit in the summer of 1960. He wrote ‘You can walk round the island; go to the town which is very interesting; bathe off the rocks or on the sand beach; lie among the pine trees and watch the sea – looking over at Nice, Menton with the Alps behind; sit in the sun in the garden; go to Nice or Cannes and see chic people…walk to dozens of places or take the air; go up mountains….really, what more do you want? (as quoted in Morris, op.cit., p.69)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A (SCOTTISH 1864-1961)
              Dec. 05, 2024

              § JOHN DUNCAN FERGUSSON R.B.A (SCOTTISH 1864-1961)

              Est: £5,000 - £7,000

              JOHN DUNCAN FERGUSSON R.B.A (SCOTTISH 1864-1961) PROMENADING FIGURE WITH HAT (WITHIN A SKETCHBOOK CONTAINING APPROXIMATELY 35 DRAWINGS) Conté, one of approximately 35 drawings within a blue-covered sketchbook  21cm x 13.5cm (8.25in x 5.25in) Acquired from the Artist's widow, Margaret Morris and thence by descent to the present owner 2024 marks the 150th anniversary of the birth of John Duncan Fergusson in Leith, near Edinburgh. He is arguably best known as one of the four ‘Scottish Colourists’, along with F. C. B. Cadell, G. L. Hunter and S. J. Peploe, who are revered as the masters of modern Scottish art. We are delighted to continue the celebration of this landmark year that we began in our sale on 6 June 2024.Fergusson’s advice to would-be artists was ‘always carry a small…sketch-book, a very soft pencil and make quick rough sketches of anything around you; never correct a sketch, just make another; don’t try to make a good drawing, you won’t – or by accident, you may! Just keep at it, you are training your eye to see and your hand to respond.’ (quoted by Margaret Morris in ed. Jean Geddes, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson 1874-1961, Blackie, Glasgow, 1974, p.5)Indeed, Fergusson followed his own advice, usually had a sketchbook about his person and made sketching and drawing the foundation of his practice. The sketchbook presented here is of his favourite style (with navy covers) and size (slightly narrower than approximately A5) and could easily be tucked into a jacket pocket alongside a conté crayon or two. It could be retrieved as a scene or subject caught his eye and provided fruitful occupation whilst out and about, particularly whilst enjoying the cafés and parks of Paris. The contents of the sketchbook provide an intimate and direct glimpse into the artist’s creative process, as – with varying degrees of finish or suggestion – he captured on its pages subjects from male and female heads to standing figures, animals and a still life. Details such as hats, beards, jewellery and spectacles are enjoyed, whilst its back pages provided a useful repository for information, including a list of paintings and sculptures accompanied by their prices. Fergusson’s surety of line and enjoyment of the human figure can be seen in individual drawings such as Seated Man, in which the subject’s form is speedily realised in hatching and The Broad-Brimmed Hat, where the technique is this time used to emphasise the chic titular headgear of his sitter. The artist’s frank appreciation of the female form is clear in the curvaceous line of Seated Nude and Nude on a Balcony. Nude, Tazza and Fruit can be read as a metropolitan Eve, offering up an apple taken from the still life arrangement before the female model. It has references to Fergusson’s celebrated paintings of nudes made in pre-World War One Paris, showing the importance of the artist’s journey from page to canvas which underlay much of his work.

              Lyon & Turnbull
            • Attributed to John Duncan Fergusson (Scottish, 1874-1961), Portrait of a Lady
              Nov. 29, 2024

              Attributed to John Duncan Fergusson (Scottish, 1874-1961), Portrait of a Lady

              Est: £10,000 - £20,000

              Attributed to John Duncan Fergusson (Scottish, 1874-1961) Portrait of a Lady Oil on artist board Signed to reverse, 'J D Fergusson 1909' With stamped copyright remaining the property of the artist  Dimensions: (Frame) 19 in. (H) x 15 in. (W) (Board) 15.75 in. (H) x 11.75 in. (W)

              Sloane Street Auctions
            • JOHN DUNCAN FERGUSSON (1874-1961). Mademoiselle O. oil on board 26 x 22 ½ i
              Oct. 17, 2024

              JOHN DUNCAN FERGUSSON (1874-1961). Mademoiselle O. oil on board 26 x 22 ½ i

              Est: £50,000 - £80,000

              JOHN DUNCAN FERGUSSON (1874-1961). Mademoiselle O. oil on board 26 x 22 ½ in. (66 x 57.2 cm.).

              Christie's
            • John Duncan Fergusson RBA (British, 1874-1961) Portrait of an actor, c. 1900
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Portrait of an actor, c. 1900

              Est: £700 - £1,000

              John Duncan Fergusson RBA (British, 1874-1961) Portrait of an actor, c. 1900 conté 29.5 x 24cm (11 5/8 x 9 7/16in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Female nude with arms raised
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Female nude with arms raised

              Est: £600 - £800

              John Duncan Fergusson RBA (British, 1874-1961) Female nude with arms raised conté 22.5 x 13cm (8 7/8 x 5 1/8in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Portrait of a man smoking
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Portrait of a man smoking

              Est: £700 - £1,000

              John Duncan Fergusson RBA (British, 1874-1961) Portrait of a man smoking conté 20 x 12cm (7 7/8 x 4 3/4in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Standing nude, Paris, 1911
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Standing nude, Paris, 1911

              Est: £700 - £1,000

              John Duncan Fergusson RBA (British, 1874-1961) Standing nude, Paris, 1911 conté 20.5 x 13.5cm (8 1/16 x 5 5/16in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Portrait of a lady in a wide-brimmed hat
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Portrait of a lady in a wide-brimmed hat

              Est: £700 - £1,000

              John Duncan Fergusson RBA (British, 1874-1961) Portrait of a lady in a wide-brimmed hat conté 20 x 12cm (7 7/8 x 4 3/4in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Standing figure and head study
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Standing figure and head study

              Est: £700 - £1,000

              John Duncan Fergusson RBA (British, 1874-1961) Standing figure and head study conté 20 x 12.5cm (7 7/8 x 4 15/16in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) A couple believed to be Anne Estelle Rice and J. D. Fergusson, Paris, c. 1908-09
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) A couple believed to be Anne Estelle Rice and J. D. Fergusson, Paris, c. 1908-09

              Est: £1,000 - £1,500

              John Duncan Fergusson RBA (British, 1874-1961) A couple believed to be Anne Estelle Rice and J. D. Fergusson, Paris, c. 1908-09 conté 17 x 10.5cm (6 11/16 x 4 1/8in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Christina Fergusson, the artist's mother, c. 1897
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Christina Fergusson, the artist's mother, c. 1897

              Est: £800 - £1,200

              John Duncan Fergusson RBA (British, 1874-1961) Christina Fergusson, the artist's mother, c. 1897 conté 29.5 x 19.5cm (11 5/8 x 7 11/16in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Harlech storm clouds, c. 1921
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Harlech storm clouds, c. 1921

              Est: £800 - £1,200

              John Duncan Fergusson RBA (British, 1874-1961) Harlech storm clouds, c. 1921 conté 20 x 12cm (7 7/8 x 4 3/4in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Fantasy Dance, Paris, 1908
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Fantasy Dance, Paris, 1908

              Est: £700 - £1,000

              John Duncan Fergusson RBA (British, 1874-1961) Fantasy Dance, Paris, 1908 conté 12 x 14cm (4 3/4 x 5 1/2in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Figures promenading, Paris, 1909
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Figures promenading, Paris, 1909

              Est: £1,000 - £1,500

              John Duncan Fergusson RBA (British, 1874-1961) Figures promenading, Paris, 1909 conté 11.5 x 13cm (4 1/2 x 5 1/8in).

              Bonhams
            • John Duncan Fergusson RBA (British, 1874-1961) Head of a Girl
              Oct. 09, 2024

              John Duncan Fergusson RBA (British, 1874-1961) Head of a Girl

              Est: £12,000 - £18,000

              John Duncan Fergusson RBA (British, 1874-1961) Head of a Girl signed and dated 'J.D.FERGUSSON/1914' (verso) oil on board 34.8 x 27cm (13 11/16 x 10 5/8in).

              Bonhams
            • λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961), LADY IN A HAT
              Jul. 11, 2024

              λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961), LADY IN A HAT

              Est: £800 - £1,200

              λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961)LADY IN A HAT Black crayon 20 x 12cm (7¾ x 4½ in.)Provenance:Direct from the artist Thence by descent to Margaret Morris Private Collection

              Dreweatts 1759 Fine Sales
            • λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961), FIGURES AT A BAR
              Jul. 11, 2024

              λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961), FIGURES AT A BAR

              Est: £1,000 - £1,500

              λ JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961)FIGURES AT A BAR Black crayon 20 x 12cm (7¾ x 4½ in.)Provenance:Direct from the artist Thence by descent to Margaret Morris Private Collection

              Dreweatts 1759 Fine Sales
            • † John Duncan Fergusson (1874-1961) Scottish, Still Life, charcoal, image 9 cm x 18 cm, framed 32.5 cm x 40 cm, glazed.
              Jun. 27, 2024

              † John Duncan Fergusson (1874-1961) Scottish, Still Life, charcoal, image 9 cm x 18 cm, framed 32.5 cm x 40 cm, glazed.

              Est: £400 - £600

              † John Duncan Fergusson (1874-1961) Scottish, Still Life, charcoal, image 9 cm x 18 cm, framed 32.5 cm x 40 cm, glazed.

              Dawsons Auctioneers
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £10,000 - £15,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE ARTIST'S SISTER Oil on board 26cm x 31cm (10.25in x 12.25in) Sotheby's Glasgow, Scottish and Sporting Pictures, 1 February 1994, Lot 177, where acquired by the father of the present owner  Fergusson was the eldest of four siblings, along with Elizabeth, Christina and Robert. His sisters sat for him regularly during the early years of his career. The Artist's Sister is an early example of how Fergusson related female beauty with the natural world, exemplified by placing flowers in his sibling's hair; this theme was to assume great importance within his practice. Fergusson’s enjoyment of his material, applying oil in thick brushstrokes, is evident in this painting. Related portraits of the artist's sisters are held in the collection of Culture Perth & Kinross.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £20,000 - £30,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) MONTGERON Signed, inscribed and indistinctly dated verso, oil on panel 27.5cm x 35cm (10.75in x 13.75) Margaret Morris Fergusson, the Artist's widow;Private Collection, Scotland;Ewan Mundy Fine Art, Glasgow;Private Collection, Scotland.Exhibited: Duncan Miller Fine Arts, London, J. D. Fergusson: The Scottish Colourist, 22 June-8 July 2011, no.19  This work is believed to date from 1909, a key year in Fergusson’s career. He exhibited at the Venice Biennale for the first time and moved to the inspiring environment of a new light and orderly studio, at 83 rue Notre Dame des Champs. Moreover, his involvement with the heady creativity of pre-World War One Paris was epitomised by election to the avant-garde Salon d’Automne that year.Montgeron is a commune some 19 kilometres to the south-east of Paris. Fergusson is known to have painted there during the summer of 1909. In this work he uses a favoured conceit of trees placed in the frontal plane to frame a scene within. Architecture is reduced to its geometric essence and planes of colour are outlined in black, showing the dramatic progress he had made since moving to Paris two years earlier. A larger version of this work, painted on canvas and dated 1909, is in the collection of Glasgow Life (Kelvingrove Art Gallery and Museum, acc.no.3172). 

              Lyon & Turnbull
            • ◆ § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              ◆ § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £60,000 - £80,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BLONDE IN THE SOUTH Signed, dated and inscribed ‘Paris 28 Nov. ’37' verso, further inscribed with title to contemporary label verso, oil on canvas 64cm x 54cm (25.25in x 21.25in) Exhibited:The Fine Art Society Ltd, London, J. D. Fergusson 1874-1961, 10 September-4 October 1974, no.86 and tour to Kelvingrove Art Gallery & Museum, Glasgow, 12 October-3 November 1974 and The Fine Art Society Ltd, Edinburgh, 9 November-30 November 1974Lyon & Turnbull, Glasgow, John Duncan Fergusson: Selected Works from Private Collections, 4-28 February 2014Lyon & Turnbull, London, Colourists at Connaught, September 2017  Fergusson’s love affair with the south of France really began in 1913, when he left Paris and moved to the then little-known Cap d’Antibes. He later explained “I had grown tired of the north of France; I wanted more sun, more colour; I wanted to go south, to Cassis.” (J. D. Fergusson, ‘Memories of Peploe’, Scottish Art Review, vol.viii, no.3, 1962, p.31) His future wife, Margaret Morris, visited him there for Christmas 1913 and during the summer of 1914. However, the outbreak of World War One prompted her return to London, where she had a dance school and theatre. Fergusson joined her in the English capital shortly afterwards, where he was to live until a return to Paris in 1929 for a further decade.Morris held her Summer School in Antibes for the first time in 1923 and, such was the couple’s love of the region, they returned there for many summers until a final visit in 1960, the year before Fergusson’s death. Blonde in the South encapsulates the sun-kissed, outdoor lifestyle that they enjoyed in the south of France, revelling in its climate, quality of light and natural beauty. Morris’s pupils danced barefoot on the beaches and in the forests and provided inspiration, subject matter and sitters for Fergusson, who captured their youth, beauty and joie de vivre in drawings and watercolours that, like Blonde in the South, he later worked up into fully-realised paintings in his studio. The 1930s was a propitious decade for Fergusson, not least with the acquisition of his painting La Déesse de la Rivière (River Goddess) by the French state in 1931. By 1936 Fergusson was President of Le Groupe d’Artistes Anglo-Américains, whilst four solo exhibitions in London meant he also maintained a high profile in Britain. Blonde in the South is infused with the optimism of much of Fergusson’s oeuvre. It combines his appreciation of beautiful women with his love of the south of France, where carefree summer months resulted in many of his most joyful paintings. 

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £3,000 - £5,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) GOAT, 1921 (CAST 1991) Bronze 10cm (4in) high Acquired from the Artist's widow, Margaret Morris and thence by descent to the present owner This sculpture was inspired by a distinctive breed of goat owned by Fergusson and Morris’s patron, the businessman George Davison. Morris’s Summer School of 1919 was held at his home, Wern Fawr, in Harlech, north Wales and she recalled: ‘There were mountain goats, used to living and breeding among rocky crags…What fascinated Fergus [sic] was the way their hair grew…it was long but stood out in frills round their legs, like trousers. Fergus made endless sketches of them….[and]…when back in London he got a lump of plasticine and…carved it into a goat he called Trousers and got it cast in brass.’ ((Margaret Morris, The Art of J. D. Fergusson: A Biased Biography, Blackie, Glasgow, 1974)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B A. (SCOTTISH 1874-1961)

              Est: £6,000 - £8,000

              JOHN DUNCAN FERGUSSON R.B A. (SCOTTISH 1874-1961) TORSE DE FEMME (TORSO OF A WOMAN) 1918 (CAST 1991) Numbered 10/10, bronze with green patina 14cm x 7cm x 5cm excluding base (32.5cm x 15cm x 15cm including base) Acquired from Margaret Morris, the Artist’s wife, by the father of the present owner  Torse de Femme embodies key themes in Fergusson’s sculptural practice, namely the appreciation of an idealised, cropped female form and a sleek modernism, based on curves and planes, with particular attention paid to the breasts, bottom and the base of the spine. It pays testament to the sculptors with whose work he would have been familiar in pre-war Paris, such as Constantin Brancusi, Alexander Archipenko and Jacob Epstein. Its angularity also speaks to Vorticism, whose members Wyndham Lewis, Christopher Nevinson and Edward Wadsworth Fergusson knew through the Margaret Morris Club that Morris ran alongside her dance school and theatre in London. 

              Lyon & Turnbull
            • ◆ § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              ◆ § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £100,000 - £150,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) ROSE IN THE HAIR, 1908 Signed, titled, inscribed and dated verso, oil on board 64cm x 53.5cm (25in x 21in) Acquired from Margaret Morris, the Artist’s wife, by the father of the present ownerExhibited: T. & R. Annan & Sons Ltd, Glasgow, Exhibition of Paintings by John Duncan Fergusson, September-October 1949, no.25;L'Institut Français d'Ecosse, Edinburgh, Paintings of France and Scotland by John Duncan Fergusson, 1 February-10 March 1950, no.21;Royal Scottish Academy, Edinburgh, J. D. Fergusson 1874-1961: Memorial Exhibition of Paintings and Sculpture, 11 November - 2 December 1961 and tour, no.39  Rose in the Hair of 1908 is a tour de force example of how Fergusson’s practice flourished in the context of the very birth of modern art, following his move from Edinburgh to Paris. Indeed, his reputation is based on the seven years he spent in the French capital between 1907 and 1913, where he occupied a unique position amongst British artists within the avant-garde art scene. Fergusson absorbed and evolved the latest developments in the work of artists including Pablo Picasso, Henri Matisse and André Derain. In fact, the undiluted colour and unrefined technique of the Fauves, or ‘wild beasts’ was of great interest to him. He and his then partner, the artist Anne Estelle Rice, became key figures in the Anglo-American ‘Rhythmist’ group, known for their progressive arts journal Rhythm, of which he was founding Art Editor in 1911and whose works were shown in group exhibitions in London and Cologne in 1912.The controlled, realist technique of the portraits Fergusson had made in Edinburgh, which were full of Edwardian sophistication, gave way to the bold, gestural and suggestive brushstrokes seen in Rose in the Hair, which evoke a far more modern concept of womanhood. Feminine confidence, beauty and style remain but are now celebrated by way of layered colours and a sense of spontaneity. The combination of a female figure with a decorative background was to inform much of his future work, whilst the simplification of form, structural use of outlining and bright palette show why Fergusson was elected a member of the cutting-edge Salon d’Automne the year after it was painted, in recognition of his contribution to the modern movement.During this period, Fergusson preferred to paint friends and lovers. It has been suggested that the sitter for Rose in the Hair is Anne Estelle Rice, but this has not been proven. Other possibilities could be the American writer Elizabeth Dryden or the haute couture business-owner Yvonne de Kerstratt, who also sat for him frequently; all three women feature in major works created between 1907 and 1910. What is clear is the rapport between model and artist, and that it was through paintings such as this that Fergusson threw off the shackles of conservative Edinburgh, emerged as an artist of daring originality and embarked upon the journey which was to culminate in his masterpiece, Les Eus of c.1913 (Hunterian Art Gallery, University of Glasgow). Fergusson kept Rose in the Hair all his life and selected it for inclusion in solo exhibitions of his work staged by T. & R. Annan & Sons Ltd in Glasgow in 1949 (priced at £100) and at L’Institut Français d’Ecosse in Edinburgh in 1950. It also featured in the touring Memorial Exhibition organised by the Arts Council Scottish Committee of 1961-62, following the artist’s death in Glasgow.We are grateful to Susan Moore and to Amy Waugh, Culture Perth & Kinross, for their help with our research.

              Lyon & Turnbull
            • ◆ § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              ◆ § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £40,000 - £60,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) BOULEVARD EDGAR QUINET Signed, inscribed and dated ‘Paris 1909’ verso, oil on board 36cm x 27cm (14in x 10.5in) In 1907, Fergusson decided to move from Edinburgh to Paris, where he was to live until 1913. This was made possible thanks to an inheritance following his father’s death the year before and was encouraged by meeting the American artist, Anne Estelle Rice, in Paris-Plage in the summer. He declared ‘Paris is simply a place of freedom’ and rented a studio at 18 boulevard Edgar Quinet in Montparnasse, the celebrated artists’ quarter. His wife, Margaret Morris, explained that ‘it overlooked the cemetery, [was] very peaceful and …[had]… a rent at that time of £12 a year.’ (Margaret Morris, The Art of J. D. Fergusson, J. D. Fergusson Art Foundation, 2010, p. 55).Fergusson himself recalled:“My studio at 18 Bd. Edgar Quinet was comfortable, modern and healthy. My concierge most sympathetic. Life was as it should be and I was very happy. The Dôme, so to speak, round the corner; L’Avenue quite near; the ‘Concert Rouge’ not far away – I was very much interested in music; the Luxembourg Gardens to sketch in; Colarossi’s class if I wanted to work from the model. In short, everything a young painter could want.” (Quoted in Morris, op.cit., p.55)He captured the neighbourhood in a hand-drawn map that survives in the artist’s archive held by Culture Perth & Kinross (acc.no. 1994.1244.7) in which many of these places are noted (see figure illustration).Boulevard Edgar Quinet comes from of a series of vibrant Parisian street scenes which Fergusson began shortly after arriving in the French capital. His excitement about his new surroundings is clear, as he revelled in the depiction of the city’s architecture and citizens. His brushwork became bolder and his palette brighter in deftly captured scenes of daily life.Anchored between the shop blind on the left and the boundary provided by the tree on the right, in the present painting Fergusson presents us with a setting through which the viewer’s gaze is drawn, from empty foreground to a tree-centred bustle of activity and over roofs to a hazy sky. With a confident command of modernist technique, form is indicated by way of distinct brushstrokes, whilst highlights of bright colours, including red and turquoise, enliven the composition and suggest a response to the brighter light of France compared to that of Scotland. Further examples of contemporary Parisian street scenes can be found in the collections of Culture Perth & Kinross, Manchester Art Gallery and the Royal Academy of Music, London.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £5,000 - £7,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) SELF-PORTRAIT (WITHIN A SKETCHBOOK CONTAINING APPROXIMATELY 55 PENCIL DRAWINGS) One of approximately 55 pencil drawings of heads, figures etc. within a sketchbook with dark blue cover 21cm x 13.5cm (8.25in x 5.25in) Acquired from the Artist's widow, Margaret Morris and thence by descent to the present owner An artist’s sketchbook, such as the present lot, gives an intimate glimpse into their ideas and working process. It is of Fergusson’s favourite brand, bought from The Paris American Art Company on boulevard du Montparnasse, style (with navy covers) and size (slightly narrower than A5). It could be tucked into a jacket pocket alongside a conté crayon or two, carried around all of the time and retrieved as soon as a scene or subject caught his eye. As someone who revelled in Paris’s social scene, from its parks and gardens to its numerous cafés, Fergusson was rarely short of a subject to capture at speed and with spontaneity.This example contains mainly head and shoulder sketches of men and women, caught in attitudes from smiling to smoking and with varying degrees of observation and humour. A bowler-hatted gentleman is seen seated at a table, enjoying a drink, the glasses and trimmed moustache and beard of another man are delineated in short, distinct lines, whilst the profiles of a range of hats worn by women celebrate Parisian chic. Dispersed throughout are a number of self-portraits, as Fergusson drew himself in part-profile, with a focus on his neckwear, distinctive hair parting and hairline, before he was drawn to another model.Further examples of similar sketchbooks can be found in the collection of Culture Perth & Kinross.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £4,000 - £6,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) THE PLAGE AND CLIFFS, POURVILLE Charcoal and watercolour 33cm x 27cm (13in x 10.5in) Margaret Morris, the artist's wife, from whom purchased by the present owner's fatherExhibited:Glasgow University Print Room, Glasgow, J. D. Fergusson Watercolours and Drawings, 25 April - 26 May 1961, no.30;Pitlochry Festival Theatre, Pitlochry, J. D. Fergusson (1874-1961) Memorial Exhibition, 21 April - 7 July 1962, no.11  The entry for this work in the 1961 exhibition catalogue states that it is 'signed, dated and inscribed on reverse 'J. D. Fergusson 1926 "The plage and cliffs'". An inscription to label verso also suggests a date of 1926.

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £1,000 - £1,500

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) IN A PARIS CAFÉ Charcoal 20cm x 10.5cm (7.75in x 4.5in) Exhibited: St. Andrews Fine Art, Annual Exhibition, 1989, no.64

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961)

              Est: £800 - £1,200

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1864-1961) SEATED NUDE Charcoal on brown paper 21cm x 18.5cm (8.25in x 7.25in)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £2,000 - £3,000

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) FIGURES AMONGST THE PALM TREES Watercolour 17.5cm x 14cm (7in x 5.5in)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £800 - £1,200

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) PORTRAIT STUDY Watercolour 20cm x 15cm (8in x 6in)

              Lyon & Turnbull
            • § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)
              Jun. 06, 2024

              § JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)

              Est: £800 - £1,200

              JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SEATED LADY Conté 25.5cm x 19cm (10in x 7.5in) Acquired from the Artist's widow, Margaret Morris and thence by descent to the present owner

              Lyon & Turnbull
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