Reductio Ad Absurdum
Original Oil Painting on Canvas 1884
by John Pettie R.A. (1839-1893)
- Literature - Martin Hardie, John Pettie, Published by Adam and Charles Black, 1908, page 124.
- Exhibited - The Royal Academy, London, 1884.
- Provenance - Christie's, London, 1890 from the collection of C. Neck.
- Signed lower right.
- Signed again and inscribed on it's original label verso.
- Listed to £199,150 GBP ($317,067 USD)
- Painting - 50cm (19 1/2") x 70cm (27 1/2")
- Frame - 62cm (24 1/2") x 82.5cm (32 1/2")
Lot Notes
An important example of the work of John Pettie. The painting has a wonderfully documented early provenance having been exhibited at the Royal Academy in 1884. The painting was then sold by Christie's in 1890 where it was catalouged as from the collection of C. Neck. The painting features in the book John Pettie, R.A., H.R.S.A. (London, 1908), by his nephew Martin Hardie at page 124. Hardie's description of the painting is reproduced below;
'" A Reductio ad Absurdum," which also belongs to 1884, is a'strong piece of colour, with a scheme of black and red used as elements in the design. A cardinal in his red robes walks along a corridor with another ecclesiastic in black with a white cape, and with expressive energy in his outstretched hands gives to his more cautious companion a " flawless demonstration w of his will, if not of his argument."' [sic]
Pettie's work is highly collectible realising thousands of pounds at auction. Please see the snapshots of auction results in the photograph section of this listing.
Condition
In fine original condition. The canvas not lined, torn, patched or repaired. There are a couple of light surface grazes in the lower right quadrant as photographed and a tiny area of paint loss lower left. The painting is presented in a later giltwood frame.
Artist Information
John Pettie RA was a Scottish painter who spent most of his career in England. He became a member of the Royal Academy in 1866 and a full academician in 1874. As an enthusiastic amateur musician, he helped the career of the young composer Hamish MacCunn by organizing concerts for him in his own studio. MacCunn, who would marry his daughter Alison in 1888, also served as a model for many of his paintings and sketches in various distinctive occasions. John Pettie was born in Edinburgh, the son of Alexander and Alison Pettie. In 1852 the family moved to East Linton, Haddingtonshire. Initially, his father objected to Pettie taking up art as a career, but this was overcome following a portrait by the lad of the village carrier and his donkey. When he was sixteen he entered the Trustees Academy in Edinburgh, working under Robert Scott Lauder with William Quiller Orchardson, J. MacWhirter, William McTaggart, Peter Graham, Tom Graham and George Paul Chalmers. His first exhibits at the Royal Scottish Academy were A Scene from the Fortunes of Nigel, one of the many subjects for which he sought inspiration in the novels of Sir Walter Scott, and two portraits in 1858, followed in 1859 by The Prison. To the Royal Academy in 1860 he sent The Armourers; and the success of this work and What d'ye Lack, Madam? in the following year, encouraged him to settle in London (1862), where he joined Orchardson. In 1866 he was elected an Associate of the Royal Academy, and in 1874 received full academical honors in succession to Sir Edwin Landseer. His diploma picture was Jacobites, 1745. Pettie was a hard and rapid worker, and, in his best days, a colorist of a high order and a brilliant executant. In his early days he produced a certain amount of book illustration. His connection with Good Words began in 1861, and was continued until 1864. He painted a portrait of the painter James Campbell Noble RSA and this is exhibited in the Scottish National Portrait Gallery in Edinburgh. In 1894 a selection of his work was included in the Winter Exhibition of the Royal Academy. His self-portrait is in the Tate Gallery. The Nationl Portrait Gallery has four of his works in their collection.
General Information
Hang your investments on the wall
Art has long been regarded as a strong and safe investment. Ellen Kelleher a personal finance reporter for The Financial Times recently wrote an article recommending art, particularly in the $500 - $50,000 range as a sound long term investment with an impressive current average annual increase of 9.7 percent. See Hang your investments on the wall by Ellen Kelleher Published October 22 2010 by the Financial Times.
About Us
Priory Fine Art specialises in high quality 17th - 20th Century British and European Fine Art. Our team have a combined experience of over 80 years in the field of fine art and have together handled the sale of many millions of pounds worth of art. As well as our own team of specialists we have close contacts from the leading auction houses who often assist us with particular pieces.
Postage and Packing
All of our paintings are professionally packaged in rigid hardboard boxes to ensure they reach you in pristine condition. Orders to the UK mainland are sent using a fully insured overnight courier service, orders to the rest of the World are sent on prompt and insured signed for services and are usually delivered within three working days.
Certificate of Authenticity
Every item we sell is fully guaranteed to be as described and a signed photo certificate is issued with every painting. We use the same cataloguing terms as most major auction houses, the terms that appear in the listing are also used on the certificates of authenticity. The cataloguing terms that we use have the following meanings;
- where the bold coloured text which forms the listing's heading reads 'by' and is followed by the artist's full name (or the artist's initials, if his full name is unrecorded), the work is in our opinion by the artist;
- where the expression "attributed to" is used, the work is in our opinion possibly a work by the artist, in whole or in part;
- where the expression 'circle of' is used, the work is in our opinion a work of the period of the artist and showing his influence;
- where the expression 'follower of' is used, the work is in our opinion a work executed in the artist's style but not necessarily by a pupil;
- where the expression 'manner of' is used, the work is in our opinion a work executed in the artist's style but of a later date;
- where the term "after" is used, the work is in our opinion a copy or pastiche (of any date) of a work by the artist. Where the term 'signed...' is used in our opinion the work has been signed by the artist, where the term 'with signature...' or 'bears signature...' is used in our opinion the signature is by a hand other than that of the artist.
|