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John Lavery

Ireland (1856 -  1941 ) Wikipedia® : John Lavery
LAVERY John Portrait Of A Young Lady

Bonhams /Nov 18, 2015
14,156.28 - 21,234.43
Not Sold

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Variants on Artist's name :

Sir John Lavery, R.A., R.S.A., R.H.A.

 

Along with John Lavery, our clients also searched for the following authors:
James Abbot Mcneill Whistler, Bill Brandt, Laura Knight, Louis Le Brocquy, William Nicholson, Robert Adams, Roger Hilton
Artworks in Arcadja
408

Some works of John Lavery

Extracted between 408 works in the catalog of Arcadja
John Lavery - Evening Tangier, Looking Towards Algeciras

John Lavery - Evening Tangier, Looking Towards Algeciras

Original
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Lot number: 66
Other WORKS AT AUCTION
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Sir John Lavery, R.A., R.H.A., R.S.A. 1856-1941 EVENING TANGIER, LOOKING TOWARDS ALGECIRAS signed lower right: J Lavery; also titled and signed on the reverse oil on canvasboard 28 by 37cm., 11 by 14¾in. Provenance Given by the artist to his friend Donald Jenkins and thence by descent; Duncan Miller Fine Arts, London; Private collection Exhibited Frost & Reed, London, 1951
John Lavery - The Maid Was In The Garden Hanging Out The Clothes

John Lavery - The Maid Was In The Garden Hanging Out The Clothes

Original 1883
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Gross Price
Lot number: 23
Other WORKS AT AUCTION
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Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) The Maid was in the Garden Hanging out the Clothes signed, indistinctly dated and inscribed 'JOHN LAVERY 188[...] THE MAID WAS IN THE GARDEN HANGING OUT THE CLOTHES"' (lower left), signed again 'Lavery' (on the reverse) oil on canvas 29 x 15 in. (73.2 x 38.2 cm.) Painted in 1883. Pre-Lot Text PROPERTY FROM AN IMPORTANT PRIVATE IRISH COLLECTION The following four pictures were collected by the present owner, between 1989 and 1999, who sought out the best possible examples available for each key artist. A Jack Butler Yeats from this collection will be included in the Modern British & Irish Art Day sale on 26 November 2015. Literature W. Shaw-Sparrow, John Lavery and his Work, London, 1911, p. 172, as 'Ye Maid was in the Garden hanging out the Clothes'. K. McConkey, Sir John Lavery, Edinburgh, 1993, p. 32, as 'Ye Maid was in the Garden hanging out the Clothes'. Exhibited Paisley, Art Institute, 1883, no. 73. Edinburgh, Scottish Academy, The 58th Exhibition of the Royal Scottish Academy, 1884, no. 801, as 'Ye Maid was in the Garden hanging out the Clothes'. Glasgow, The Royal Glasgow Institute of Fine Art, Annual Exhibition, 1885, no. 271.
John Lavery - Archibald Benn Duntley Maconochie With His Mother And Sisters

John Lavery - Archibald Benn Duntley Maconochie With His Mother And Sisters

Original 1908
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Lot number: 26
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Sir John Lavery, R.A., R.S.A., R.H.A. 1856-1941 ARCHIBALD BENN DUNTLEY MACONOCHIE WITH HIS MOTHER AND SISTERS signed l.r.: J. Lavery; titled, signed, inscribed with the artist's London address and dated 1908 on the reverse oil on canvas 216 by 183 cm., 85 by 72 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance The family of the sitter and by descent to the present owner Catalogue Note Sir John Lavery, R.A. was one of the most important and talented painters of his generation: an orphan from Belfast who rose from the poverty stricken Ireland of the 1850s to become a leading member of the Glasgow Boys, a Royal Academician, official war artist and royal portraitist. He was a progressive artist, friend of Whistler and Rodin who quickly embraced the many innovations occurring in France in the 1880s and developed a painterly, sophisticated style which enabled him to paint a huge variety of subjects. Feted by the rich and famous, he achieved huge critical acclaim in his own lifetime. One of the mainstays of his career in the early years of the century was portraiture. He established himself as one of the most fashionable portraitists of the period and with his Glasgow connections he would have been the obvious choice for the Scottish Maconochie family. The portrait shows Jane Maconochie (née Webb Mills, b.1878), wife of Archibald White Maconochie (1854-1926) and her three children from left to right: Margaret Jean (b.1905), Archibald Benn Duntley (b.1907) and Vera Elizabeth Jean (b.1904) in an English country garden setting. The small doll that can be seen peeking out from underneath Archibald’’s chair represents the fourth child of the family that Jane is carrying, Jean Constance who would be born in 1909. The paint surface has the typical broad and animated brushstrokes that were so desired by Lavery’’s patrons at the time. Works with a high degree of finish were considered old fashioned and this allowed Lavery to inject more life into the handling of the paint, creating a more informal and naturalistic overall effect. Archibald White Maconochie was a Scottish Liberal Unionist politician, elected in 1900 as MP for East Aberdeenshire, losing his seat in 1906. He founded Maconochie Brothers with his brother James in 1873, selling preserved provisions including bottled fruit. In 1907 the company invented “Pan Yan Pickle”, a sandwich relish and they established a large factory on the Isle of Dogs among other places, and while the factory is long gone, it is still called Maconochie's Wharf today. The company also supplied the troops with canned food rations during the first world war. Pan Yan pickle was being made up until 2002 by Rowntree McIntosh, when the secret recipe was lost in a fire at the company’’s Suffolk factory. While Archibald Benn went on to live the sort of pleasure-seeking lifestyle made possible by the wealth amassed by his father, we know that at least two of the three girls took varied and interesting paths. Vera became a professional opera singer in the 1930s, travelling with her singing partner, soprano Guelda Waller as far as America to perform and appearing on some of the earliest television programmes. She also had a secondary career as a farmer. In the 1940s she ran a 200-acre specialist beef holding in Uckfield. She was very active in the National Farmers Union and was made an honorary member. Margaret was a racing driver, and winner of the official BARC race for lady drivers at Brooklands, Weybridge in 1927. See More See Less
John Lavery - Portrait Of A Young Lady

John Lavery - Portrait Of A Young Lady

Original 1886
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Lot number: 45
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Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941) Portrait of a young lady signed and dated 'J Lavery 1886' (on a canvas fragment attached to the stretcher) oil on canvas 77.5 x 64.2 cm. (30 1/2 x 25 1/4 in.) Footnotes Provenance With Frederick Thom Gallery, Toronto Acquired by the present owner in 1993 Private Collection, U.K. When he returned from France at the end of 1884, the young John Lavery immediately re-established his studio in Glasgow. Living in Paisley, within easy commuting distance, he was looking for an eye-catching subject that would give much-needed publicity, when he painted The Tennis Party (Aberdeen Art Gallery). This iconic picture, after being exhibited in London and Edinburgh, secured a gold medal at the Paris Salon, and effectively launched his career. A controversial canvas like this would open the door to more lucrative portrait commissions. As his reputation grew, Lavery secured the patronage of William Mackean, Lord Provost of Paisley, and other prominent citizens of the town. Mackean's connections, he later recalled, helped to open doors for him – including those of Windsor Castle, when he secured a sitting from Queen Victoria in 1889. The cotton kings of Paisley also required portraits and among these were the Fulton, Coats and Clark families, whose wives and daughters were booked for sittings. James Fulton for instance, requested portraits of his daughters, Alice and Eva (Paisley Museum and Art Gallery, Renfrewshire Council Collections), and we find them appearing in other compositions of the period. Yet although much is known about these commissions, much remains to be discovered and while we may observe a facial resemblance between the auburn-haired Eva Fulton and the present blonde sitter, we cannot definitively say that she is a Fulton. By the same token, a comparable unidentified portrait, Girl with Fur Wrap , (Private Collection) also of 1886, shows a model wearing a white dress with shoulder ribbons, similar to those in the present example, although again, hair colourings are different. The young lady's dress in the present canvas, at least in its upper portion, is nevertheless of great interest, being modelled on one designed by Worth, and worn by the subject in Whistler's Harmony in White and Ivory, Lady Colin Campbell (unlocated, probably destroyed). Lavery, who was aware of the great importance of the American artist for members of his generation, met him at this time and was showing at the Society of British Artists when the Lady Colin Campbell portrait was exhibited. Pictorial harmony was, and would remain, a primary characteristic of his approach to the sitter and his subject in the present canvas was 'symphonic' in the Whistlerian sense - silver-blues in her glove ties, complementing subtle notes of cream, gold and pink in the hair and dress accessories. Thus, a charming young woman, dressed in a ball gown, poses in the painter's studio. The artist may well be echoing his early canvas, After the Dance , 1883 (Private Collection), but this picture avoids all sense of coquetry. The ebonized ladder back chair on which she sits appears in other pictures – notably in Finale , 1885-7 (Private Collection) – but again, narrative is banished. Placed under strong light, the girl's face is nevertheless, not devoid of allure, and while Lavery's models and his movements between Glasgow and London in 1886 and 1888 remain largely undocumented, we can make clear judgements concerning his aesthetic direction. In this the charming Portrait of a Young Woman marks a vital way-stage. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.
John Lavery - Winter In Florida

John Lavery - Winter In Florida

Original
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Gross Price
Lot number: 37
Other WORKS AT AUCTION
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Sir John Lavery, R.A., R.S.A., R.H.A. 1856-1941 BRITISH WINTER IN FLORIDA signed J Lavery (lower right) oil on canvas 38 3/8 by 50 1/2 in. 97.4 by 128.2 cm Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Roy Miles Fine Painting, London (no. 428) Sale: Sotheby's, New York, December 5, 1975, lot 201, illustrated Acquired at the above sale Exhibited Royal Glasgow Institute of the Fine Arts, 1929, no. 123 Edinburgh, Royal Scottish Academy, 1937, no. 248 London, Royal Academy, 1938, no. 215 Liverpool, Walker Art Gallery, Autumn Exhibition, 1938 Literature Kenneth McConkey, John Lavery, A Painter and his World, Edinburgh, 2010, p. 174, illustrated p. 173, fig. 203 Catalogue Note Winter in Florida is the most important outcome of Sir John Lavery’’s sojourn at the famous Breakers Hotel, recently reopened for the 1927 New Year celebrations. It was his second visit to the United States in less than a year, and it came at the end of a highly successful touring exhibition which began at the Duveen Galleries on Fifth Avenue in November 1925. On the first trip Lavery attended the opening and remained until January 1926, carrying out a number of commissions in New York and Boston, before returning to London. Others were left pending his return in November, after which he would rejoin his exhibition at its final venue at Whitehall, Palm Beach, now the Flagler Museum. Christmas in Florida was regarded as a working holiday, for here the artist painted beach scenes by the pier and the hotel foyer (sold in these rooms, February 27, 1986, lot 99A), while a second canvas, also entitled Winter in Florida (Ulster Museum, Belfast), depicts neighboring tennis courts (see: McConkey, 2010, p. 169-174). However, his most inspiring encounter was arguably with the bathers at the People’’s Pool, otherwise known as Gus’’s Baths. This was a public swimming complex of two large pools on the corner of Worth Avenue and South Ocean Boulevard. Built in 1910 by Gus Jordahn, a Danish immigrant who had worked as a lifeguard at Coney Island, it was a phenomenally successful venture, which in 1923 was remodelled and extended to include a dance hall, restaurant, apartments and other amenities, along with the Spanish-style whitewashed changing facilities which we see in the present canvas. Although Lavery painted a smaller canvas of the second pool (fig. 1), separate studies of the foreground bathers in the present work (fig. 2) indicate that he always had in mind the large exhibition piece, Winter in Florida. This magisterial work takes its general layout from the small version, but with a brighter and more varied palette, it also includes charming studies of individual bathers and sun-seekers quickly noted on the separate canvas-board. Both versions of the People’’s Pools are punctuated in the extreme right corner by a seated figure – transformed from a lifeguard in the small version, into a stunning sketch of a young woman in an acid-yellow dress in the present instance. It was a motif that Lavery was to redeploy in the framing male figure in the portrait of Doris Delavigne, Lady Castlerosse, who posed provocatively on a diving board in Palm Springs in 1938. Such was the potency of the poolside experience that Lavery visited the open-air baths at Chiswick in London for other studies in 1928, and after the completion and unveiling of Winter in Florida in the Glasgow Institute early in 1929, he would return to the subject on his Riviera holiday the following year. However, even the glamorous villa pools at Cap Martin and Palm Springs could not compete with friendly bustle of Gus’’s Baths. When Winter in Florida returned to the painter’’s studio Lavery evidently felt that it merited further consideration and he continued working on it – reliving the moment. Eight years later it returned to Scotland with the central figure, which originally sported a parasol, replaced by that of the young woman wearing a straw sun hat. This strengthened the composition and consolidated the impression that was to remain his most joyous celebration of the health and vigor he found in Florida. This catalogue entry was written by Professor Kenneth McConkey. Please note that this lot is sold unframed. Fig. 1 Sir John Lavery, R.A., R.S.A., R.H.A., The People’’’’s Pool (1927, oil on canvas, 25 by 297/8 in.; 63 by 76 cm, formerly Pyms Gallery, London) Fig. 2 Sir John Lavery, R.A., R.S.A., R.H.A., Bathing Studies (1927, oil on canvas-board, 20 by 233/4 in.; 50.8 by 60.4 cm, Private Collection) See More See Less
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