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  • Design Credit: Kacy Ellis, Photo Credit: Wynn Myers. Dimensions: H 13.5 in. x W 13.5 in.
  • Design Credit: Jeremiah Brent Design, Photo Credit: Nicole Franzen. Dimensions: H 13.5 in. x W 13.5 in.
  • Design Credit: Sarah Shetter, Photo Credit: Boris Breuer. Dimensions: H 13.5 in. x W 13.5 in.
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Augustus Edwin John
Portrait of a Lady

Circa: 1910

$12,000

About

An original signed red and black chalk drawing on wove paper by British artist Augustus Edwin John (1878-1961) titled "Portrait of a Lady", c. 1910. Hand signed by John lower right. The lady depicted in this drawing is possibly one of his more known models, Edie McNeill. Provenance: estate of notable musician Enoch Light, New York, NY; acquired from Knoedler Gallery, New York, NY retaining their original gallery label on verso. Recently framed in a deep gold ornate moulding with silk matting, gold filet, and museum glass. Framed size: 13.5" x 13.5". Sheet size: 8.38" x 8.88". Image size: 5.13" x 5.13". Some UV staining to sheet and a few faint foxmarks. In otherwise very good condition with rich color. Augustus John, in full Augustus Edwin John, (born January 4, 1878, Tenby, Pembrokeshire, Wales—died October 31, 1961, Fordingbridge, Hampshire, England), Welsh painter who was an accomplished portraitist, muralist, and draughtsman. John studied at the Slade School of Fine Art in London from 1894 to 1898. By age 20 he had won a reputation as one of the most brilliant draughtsmen in England. His portraits and other paintings done around 1900 gained attention for their vigour and skillful technique. John was greatly influenced by the work of Old Master painters, especially Peter Paul Rubens, as can be seen in the strong and sensuous Smiling Woman (c. 1908), a portrait of John’s second wife, Dorelia. John was known as a colourful personality who adopted an individualistic and bohemian lifestyle. Intrigued by gypsy culture and the Romany language, he spent periods traveling with gypsy caravans over Wales, Ireland, and Dorset. He based much of his work on these experiences, such as the painting Encampment on Dartmoor (1906). John was more modern in his approach to landscape painting, as seen in the bright palette and loose brushwork of paintings such as Llyn Trewereyn (1911–12) and The Little Railway, Martigues (1928).

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