Description
signed and dated FRANCES E MACDONALD 1898, watercolour and gold ink
Dimensions
49 x 37cm (19 1/4 x 14 1/2in)
Footnote
Provenance:
Private Collection, France
Christies, Edinburgh 'Fine Paintings and Drawings', 13th May 1993, Lot 827
Exhibited;
Edinburgh, Royal Scottish Academy, Royal Scottish Society of Painters in Watercolours, 1898, no. 170
Vienna, Eighth Exhibition of the Vienna Secession, 1900, no. 545
Turin, International Exhibition of Modern Decorative Art, 1902, no. 75
Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', 12th August 2006 - 22nd April 2007, exhib. ref. W13
Literature:
Ver Sacrum, no. 24, 1900, ill. p. 304
Ver Sacrum, no. 23, 1901, ill. p. 399
Dekorative Kunst, Vol. VII, 1901, "Die VIII Austellung der Wiener Secession", p.170, reproduced.
Helland, Janice 'The Studios Of Frances And Margaret Macdonald', Manchester, 1996, p. 113, fig. 36 and p. 119, fig. 40, illustration of the interior.
Robertson, Pamela (Edit.) 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', Hampshire 2006, p. 151-2, exhib. ref. W13, cat. ill. 70
Note:
Frances and her sister Margaret Macdonald each exhibited a watercolour depicting a scene from the tale of the frog prince at the RSW in 1898. Each was unsold and both paintings were shown in the 8th Exhibition of the Vienna Secession in late 1900 in the room designed by Mackintosh as a showcase for the work of The Four. Helland and Robertson have both commented on the themes and possible feminist undertones in Frances's choice of the cruel moment in the story when the princess, after the frog has retrieved the golden ball for her, runs off with it, reneging on her promise to share her life with him, leaving the distraught frog prince behind.
The prince is seen here as half frog, half human and the princess, despite her billowing dress, veils and cascading hair - all seen as symbols of her wealth and beauty - is shown with scaly claws for hands.
The overall design and execution shows Frances at the height of her powers at this date and remains perhaps her highest achievement among her pre-1900 watercolours.