“Mary’s Garden” Scottish Wildflower Still Life Oil Painting by Dan Ferguson Roi (1910–1992)

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Description

“Mary’s Garden” Scottish Wildflower Still Life Oil Painting by Dan Ferguson ROI (1910–1992)
Subject & Medium
A richly observed Scottish … Read more “Mary’s Garden” Scottish Wildflower Still Life Oil Painting by Dan Ferguson ROI (1910–1992)
Subject & Medium
A richly observed Scottish floral still life: mixed wild and garden flowers arranged in a traditional tankard/jug on a dark tabletop, set against a calm neutral background that throws the bouquet forward.
Medium: Oil on board
Presentation: Framed and under glass (protective glazing), consistent with the published auction description for this work.
Composition & Technique
This is an exhibition-style composition—balanced, readable across a room, and designed for strong wall impact.
Structure
A stable pyramidal bouquet with tall stems (heather/foxglove forms) creating height, rounded masses of bloom (daisy/aster/chrysanthemum forms) building the centre, and lighter trailing stems softening the base.
Depth & layering
Flowers overlap convincingly; stems weave behind and in front of heads, creating genuine spatial depth rather than a flat decorative pattern.
Tonal design
The restrained background and dark tabletop act as a stage, intensifying the saturation and clarity of the blooms.
Material realism
The tankard/jug is modelled with subtle half-tones and crisp highlight glints, giving believable weight and reflective sheen.
Flowers
This bouquet is not generic—its forms strongly reflect Scottish wild and cottage-garden choices. Identifications below are based on flower-head structure, ray/floret patterns, spike/umbel silhouettes, and colour placement as depicted.
Heather (Calluna/Erica-type): feathery purple sprays rising behind the bouquet; a distinctly Scottish note.
Thistle (Cirsium-type): spiky blue-purple heads with radiating bracts; emblematic Scottish form.
Foxglove (Digitalis-type): tall upright spikes with tubular bell flowers in warm orange-pink; provides vertical “architecture.”
Oxeye/Shasta-type daisies (Leucanthemum-type): white ray petals around yellow centres; bright focal discs across the mid-field.
Asters / Michaelmas daisies (Aster/Symphyotrichum-type): finer-petalled mauve and purple daisy forms, flatter and more numerous; late-season bouquet character.
Chrysanthemums: denser, layered heads (notably yellow) adding volume and exhibition fullness.
Bluebells (Hyacinthoides-type): drooping bell shapes in blue near the lower bouquet; cool counterpoint to warmer tones.
Cornflower / knapweed-like blues (Centaurea-type): spiky blue accents and thistle-family textures near the lower section.
Meadow umbels / fillers (yarrow/cow-parsley type): small clustered whites linking larger heads; adds botanical naturalism.
Mixed meadow grasses and foliage: slender stems and leaves threaded through the bouquet, adding movement and a freshly gathered authenticity.
About the Artist
Art UK records Dan Ferguson (1910–1992) as a Scottish painter and printmaker, brother of the artist Roy Ferguson, stating he was born and lived in Motherwell, Lanarkshire, and studied at the Glasgow School of Art. This is highly relevant here because the original exhibition label on the reverse records “Dan Ferguson, R.O.I.” and gives a Motherwell, Lanarkshire address—aligning strongly with the Art UK profile.
A published McTear’s biography for Dan Ferguson adds further context: education after Dalziel High School, election to ROI in 1958, exhibiting with Scottish institutions including the RSW and Royal Glasgow Institute, and works represented in public galleries including Glasgow and Paisley.
Historical Importance
This picture is anchored in Scotland’s long-running exhibition culture through its original, fully completed Paisley Art Institute Exhibition label (affixed to the reverse). The label documents the painting’s exhibited title, number, and original price—exactly the kind of period paper trail that elevates a work from “decorative floral” to a documented exhibition still life.
Additionally, this work has a publicly recorded auction history, providing modern market verification and traceability.
Signed
Signed “DAN FERGUSON” to the lower right. The reverse exhibition label also records the artist as “Dan Ferguson, R.O.I.”
Framed
Presented in an ornate gilt moulded frame with strong decorative presence, and under glass for protection (as recorded in the published auction description).
Dimensions
Framed: 75 cm (H) × 60 cm (W) × 5.5 cm (D)
Approx. image size: 61 × 46 cm (as per published auction record)
Provenance
A rare combination of period labels and public record:
Paisley Art Institute Exhibition (Scotland) — original label verso, fully completed
Exhibit no.: 2
Title: “MARY’S GARDEN”
Price: £40
Artist: “DAN FERGUSON, R.O.I.”
Artist old address: Redyett, Motherwell, Lanarkshire
Agent: McClures, Glasgow
(All directly supported by the attached label; also referenced in published lot notes.)
McClures, Glasgow
Recorded on the exhibition label as the agent; additional “McClure” trade label present on the reverse.
McTear’s (Glasgow)
Published auction record for “Mary’s Garden” (oil on board; signed; titled label verso; framed and under glass), sold 20 June 2024.
Cheshire Antiques Consultant Ltd
Later curated/handled in the trade (dealer label present on the reverse).
Why You’ll Love It
Documented exhibition history — original Paisley Art Institute label with title, number, and period price (£40).
Scottish identity in the subject — thistle, heather, and bluebells create an unmistakably Scottish bouquet.
Serious exhibition technique — layered depth, confident colour, and convincing vessel realism.
Traceable public market record — a published McTear’s auction listing provides modern verification.
Decorative impact — large framed size (75 × 60 cm) makes it a statement piece for home or office.
Protected presentation — framed and under glass for display and preservation.
Verso labels add credibility — collectors value documentary material they can verify in photos.
Condition Report
Offered in fine used condition overall, with age-consistent characteristics: light surface foxing and craquelure in places; foxing/ageing visible on the reverse; frame wear including dusting, marks, minor chips and cracking commensurate with age and handling.
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