Whyte's /May 25, 2015
€60,000.00 - €80,000.00
Artworks in Arcadja388
Some works of John LaveryExtracted between 388 works in the catalog of Arcadja
Auction: Christie's -Jul 8, 2015 - LondonLot number: 35
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Overview Lot Notes Lot Description Sir John Lavery, R.S.A., R.A., R.H.A. (1856-1941) A seated milkmaid signed and dated 'JOHN LAVERY. 1879.' (lower left) oil on canvas 29 ¾ x 19 7/8 in. (75.5 x 50.5 cm.) Lot Condition Report I confirm that I have read this Important Notice and agree to its terms. View Condition Report Provenance Captain Beddoes of Belmullet, Co. Mayo, and by descent. Saleroom Notice Please note that the present lot was given by Lavery to Captain Beddoes of Belmullet, Co. Mayo, Ireland in 1879 and has passed by descent to the present vendor. View Lot Notes >
Auction: Bonhams -Jun 10, 2015 - LondonLot number: 54
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Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941) The Bishop's Castle Tearooms signed and dated 'J. Lavery 88' (lower left) oil on canvas 25.5 x 30.5 cm. (10 x 12 in.) Footnotes Provenance With Arthur Tooth & Sons Private Collection, U.K. Exhibited Glasgow, Craibe Angus Gallery, 1888 Between May and November 1888, in the park at Kelvingrove, the city of Glasgow hosted an International Exhibition of arts and manufacturing from across the globe. As Scotland's industrial hub, it supplied ships, locomotives, wool and cotton fabrics, and other essentials to the far corners of the British Empire, and the exhibition provided the opportunity to celebrate its prowess. Glasgow also boasted some of the most avant-garde artists and collectors in Britain, and its flourishing young painters, the 'Glasgow Boys' had recently formed. The most enterprising of these was John Lavery who, at the outset of the exhibition, concluded an arrangement with the dealer, Craibe Angus, to show fifty oil sketches painted on-the-spot throughout the duration of the show. In addition to a vivid record of the State Visit of Queen Victoria in August, these included paintings of the exhibition halls, studies of Welsh weavers, Indian potters and an attractive 'paintress' on the Royal Doulton stand who later found a career in Hollywood. There were tobacco kiosks, bungalow tearooms and a Dutch cocoa house. And amid the bandstands, fountains and fireworks, on the hillside leading up to Glasgow University, beyond the North Kiosk, a medieval Bishop's Castle was constructed to house the relics of Mary, Queen of Scots one of the special features of the exhibition. This had its own tearoom overlooking the entire park and, as is clear in the present picture, its patrons were served by waitresses dressed in Mary Stuart costumes. Our record of the exhibition depends in large measure upon Lavery's surviving canvases. A smaller view of the tearoom, The Glasgow International Exhibition (Tate Britain), contains the waitress and more crowded tables. Another represents the access stairway and seating area, under the glow of the lanterns, and a final study shows waitresses serving in an adjacent passageway (both Private Collections). Lavery had trained himself to observe the hubbub of public places and with great economy could describe setting and subjects as they appeared in an instant. Visual memory was essential for an artist-reporter. As much as in sections left unfinished or only lightly sketched, this is evident in the focal point of the composition, the beautifully-observed military bandsmen, seen in contre jour . Thus in The Bishop's Castle Tea Room , the speed and spontaneity of Lavery's accurate eye could not be more clearly demonstrated. We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.
Auction: Adams -May 27, 2015 - DublinLot number: 82
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Description: Sir John Lavery RHA RA RSA (1856 - 1941)A Street in Rabat, Morocco (1920)Oil on board, 25.5 X 30.5cm (10 x 12)Signed, also signed, inscribed with title and dated 1920 versoFrom the 1830s North Africa and the Middle East became places of artistic pilgrimage, but while painters such as Lewis, Lear and Holman Hunt preferred the eastern Mediterranean, in Lavery's era an instant Orient was to be found by simply crossing the Straits of Gibraltar. Where Orientalist painters concentrated upon narrating the Eastern way of life, the rituals of the Mosque and the Harem, Lavery's generation looked to this environment for its colour. His first visit to Morocco took place in 1891, at the instigation of his friends, the Glasgow artists Arthur Melville and Joseph Crawhall. After almost annual visits, in 1903 he bought Dar-el-Midfah ('the House of the Cannon', for a half buried cannon in the garden), a small house in the hills outside Tangier which he continued to visit with his family over the next 20 years.Dr Kenneth McConkey has documented Lavery‰Ûªs journey to Rabat. Due tothe war Lavery had not been to Morocco for six years returning in January 1920. He was present when with great fanfare the Moroccan flag was raised over the German Legation building in the market square in Tangier. The Lavery‰Ûªs then sailed down the coast of Spanish North Africa to Rabat where he sketched the harbour and ‰ÛÏRue des Femmes‰Û before travelling inlaid by car to Marrakesh.It has been claimed that for Lavery the strong light, cloudless sky, white walls and bright colour of Arab dress helped to cleanse his eye after sustained periods of studio portraiture. Within a few years of visiting Morocco for the first time, the light sable sketching of his Glasgow period gave way to a richer and more sensuous application.With thanks to Dr Kenneth McConkey whose research and writing formed the basis of this note.
Auction: Whyte's -May 25, 2015 - DublinLot number: 30
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Description: Sir John Lavery RA RSA RHA (1856-1941) A BACCHANTE, 1910 oil on canvas signed lower left; signed again, titled [A Bacchante], dated and inscribed with artist's London address [5 Cromwell] on reverse h:30 w:25 in. Provenance: The Collection of Mr and Mrs George A. Hearn, New York until 1913; Their sale, American Art Gallery, New York, George A. Hearn Collection, 25 February to 4 March 1918, catalogue no. 228; To K.W. Kraushaar, New York; J.G. Butler, Butler Institute, Youngstown, Ohio; Thence by descent; Peter Nahum; To present owner Exhibited: Royal Society of Portrait Painters, London, 1910, as Mrs Ralph Peto; Coronation Exhibition, Shepherd's Bush, London, 1910, as Mrs Ralph Peto; Autumn Exhibition, Walker Art Gallery, Liverpool, 1912, catalogue no. 372; Exhibition of British Pictures, The Lotus Club, New York Literature: 'Exhibition in London: Society of Portrait Painters', Western Daily Press, 26 September 1910, p. 9 Walter Shaw Sparrow, John Lavery and his Work, n.d., , (Kegan Paul, Trubner, Trench & Co), p. 191 Velhagen und Klasing Almanach, 1912 American Art Annual XV, 1918, p. 311 In 1910 the calls for John Lavery to be elected to the Royal Academy rose to a crescendo in the press. Fêted in Europe and North America, he had the unique distinction of having two works in the French national collection and his reputation as a leading portrait painter had grown among the younger layers of the British aristocracy with prominent sitters including the McLarens, the Windsor-Clives, the Hely-Hutchinsons and others.1 To confirm his pre-eminence that year, he was chosen to represent Britain with a solo exhibition at the prestigious Venice Biennale and it was at this point, the striking Ruby Peto came to the studio in Cromwell Place to be painted. Dressed as a 'bacchante', she moved across the field of vision, looking round to catch the painter's eye. In her cerise wrapper, laurel wreath and pale make-up, she trailed memories of Reynolds and Romney, cherished eighteenth century masters now the height of fashion with Gilded Age collectors. In Lavery's terms, as he told Selwyn Brinton, the artist 'who can depict the fashion of his day [in such a way] that it shall be of his day, and yet for all time … has solved the problem'. 2 Like Baudelaire he believed that catching the complexities of 'modern life' was the painter's sole objective. In this instance, the twenty-six year old Mrs Peto took him close to achieving his goal. Although of different generations, Ruby, like Lavery, had been married for less than a year when the portrait was painted. A scion of the Crawford and Balcarres dynasty, Frances Vera Ruby Lindsay (1884-1951), was a favoured cousin of Diana and Marjorie Manners, daughters of the Duke and Duchess of Rutland. According to Lady Diana, she '… did not lack for swains, being very beautiful and spirited'. Accompanying the Manners' daughters to Florence in her early twenties, and touring the galleries with her Baedeker, she was discovered 'making eyes at the uniformed officers'. 3 In July 1909, Ruby Lindsay married a dashing member of the Diplomatic Service, Ralph Harding Peto (1877-1945) at a ceremony for 600 guests at St Margaret's Church, Westminster.4 After their honeymoon in Paris, the couple quickly became prominent society figures and were frequently mentioned in 'court circulars'. Ruby attended at first nights, concerts, charity 'masques' and tableauxin which she, like Hazel Lavery, often took a leading role. It is not known how she and the Laverys first met, but her name was frequently joined with t
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SIR JOHN LAVERY (1856-1941), c, signed lower right, oil on canvas, 30" x 25" Provenance: The sitter - Mrs W.F. Burton nee Georgina Spencer Wellesley (d.1943), great Niece of the Duke of Wellington, daughter of Hon. Captain William Henry George Wellesley (1806-1875) and Amelia St. John Niblock. Thence by descent.