John Lavery

Ireland (18561941 ) - Artworks Wikipedia® - John Lavery
LAVERY John Winter In Florida

Sotheby's /Nov 6, 2014
259,624.66 - 296,713.89
Not Sold

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Variants on Artist's name :

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

 

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Artworks in Arcadja
369

Some works of John Lavery

Extracted between 369 works in the catalog of Arcadja
John Lavery - The Cigar Seller At The Glasgow Exhibition

John Lavery - The Cigar Seller At The Glasgow Exhibition

Original 1888
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Lot number: 152
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Lot Description Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) The Cigar Seller at the Glasgow Exhibition signed and dated 'J Lavery 88' (lower right) oil on canvas 12 x 15 in. (30.5 x 38.1 cm.) Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) The Cigar Seller at the Glasgow Exhibition signed and dated 'J Lavery 88' (lower right) oil on canvas 12 x 15 in. (30.5 x 38.1 cm.) Special Notice From time to time, Christie's may offer a lot which it owns in whole or in part. This is such a lot. Provenance The Collection of the Col. David Smiley. His sale; Christie's, London, 13 March 1981, lot 39. with Fine Art Society, London, 1988. Literature Exhibition catalogue, The Face of Scotland: The Land and its People, Edinburgh, Fine Art Society, 1981, illustrated. Exhibition catalogue, Sir John Lavery R.A. 1856-1941, Edinburgh, Fine Art Society, 1984, p. 37, no. 33, illustrated. R. Billcliffe, The Glasgow Boys, London, 1985, p. 215, illustrated. S.K. Hunter, Kelvingrove and the 1888 Exhibition, Glasgow, 1990, pp. 138, 142. K. McConkey, Sir John Lavery, Edinburgh, 1993, p. 56. R. Billcliffe, The Glasgow Boys, London, 2008, pp. 191, 193, illustrated. K. McConkey, Sir John Lavery, a Painter and his World, Edinburgh, 2010, p. 44, fig. 47. Exhibited Glasgow, Craibe Angus & Son, Pictures and Sketches of International Exhibition, October 1888. Paisley, Art Institute, Annual Exhibition, 1889, no. 82. Edinburgh, Fine Art Society, The Face of Scotland: The Land and its People, August - September 1981. Edinburgh, Fine Art Society, Sir John Lavery R.A. 1856-1941, August - September 1984, no. 33: this exhibition travelled to London, Fine Art Society, September - October 1984; Belfast, Ulster Museum, November - January 1985; and Dublin, National Gallery of Ireland, February - March 1985. View Lot Notes >
John Lavery - The Bathing Hour, Lido, Venice

John Lavery - The Bathing Hour, Lido, Venice

Original
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Lot number: 13
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Lot Description Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) The Bathing Hour, Lido, Venice signed ‘J Lavery‘ (lower right) and signed, inscribed and dated ‘JOHN LAVERY/5. CROMWELL PL/LONDON/1912/THE BATHING HOUR/LIDO’’’’ (on the reverse) oil on canvas 18 x 30 in. (45.6 x 76.2 cm.) Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) The Bathing Hour, Lido, Venice signed ‘J Lavery‘ (lower right) and signed, inscribed and dated ‘JOHN LAVERY/5. CROMWELL PL/LONDON/1912/THE BATHING HOUR/LIDO’’’’ (on the reverse) oil on canvas 18 x 30 in. (45.6 x 76.2 cm.) Provenance with James Connell, Glasgow, circa 1920. Purchased by the present owner's father in Scotland, circa late 1940s. Pre-Lot Text THE PROPERTY OF A LADY View Lot Notes >
John Lavery - Portrait Of Mrs. Heseltine

John Lavery - Portrait Of Mrs. Heseltine

Original
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Lot number: 113
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Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941) Portrait of Mrs. Heseltine signed, inscribed and dated 'To Mrs Heseltine/J. Lavery 1883' (lower left) charcoal 27.2 x 22.3 cm. (10 3/4 x 8 3/4 in.) Footnotes Provenance Gifted by the Artist to the Sitter, thence by family descent Private Collection, U.K. Lavery met Mrs. Arthur Heseltine (née Celie Caroline Guillet) and her husband at Grez-sur-Loing in 1883, during his first visit to the celebrated artists' colony. Celie was the sister of Marie Cazin, wife of Jean-Charles Cazin. The Heseltines were married in 1882, and later took up residence nearby at Marlotte where Lavery visited them in 1897-8 and 1900. Mrs. Heseltine for instance posed for the artist in A Garden in France , 1898 (Private Collection) and her husband's portrait was painted in 1900 (Castle Museum, Norwich). 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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Lot number: 56
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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 Please note that this lot is sold unframed. Roy Miles Fine Painting, London (no. 428) Sale: Sotheby's, New York, December 5, 1975, lot 201, illustrated Acquired at the above sale 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 Kenneth McConkey, John Lavery, A Painter and his World, Edinburgh, 2010, p. 174, illustrated p. 173, fig. 203 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, pp. 169-14). 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. Fig. 1 Sir John Lavery, R.A., R.S.A., R.H.A., The People’’’’s Pool (1927, oil on canvas, 25 by 29⅞ in.; 63.5 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 23¾ in.; 50.8 by 60.4 cm, Private Collection)
John Lavery - Lady In Green

John Lavery - Lady In Green

Original 1903
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Lot number: 35
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Description: Sir John Lavery RA RSA RHA (1856-1941) LADY IN GREEN (MRS. CARA H.), 1903 oil on canvas signed lower right; signed again and inscribed with titled and dated at 5 Cromwell Place, London on label on reverse; also with exhibition label, partially removed Caledonian Railway label and label indicating name and address of original owner, all on reverse 35 x 24in. (88.90 x 60.96cm) Provenance: The property of E.F.B. Johnston, Esq., K.C. Toronto; Harry Diamond, Toronto purchased circa 1958; His Estate, Toronto; Private collection Exhibited: The Art Museum of Toronto (now the Art Gallery of Ontario), the "Second Exhibition Catalogue of a Loan Collection of paintings of the English, Old Master, Modern Dutch, French and other European Schools Contributed by Private Collectors" from 24th November - 16th December 1909, catalogue no. 38 Literature: The Art Museum of Toronto, The Second exhibition catalogue The recovery of Lavery's previously unrecorded Lady in Green from a private collection in Canada sheds new light upon an important phase of his work in the early years of the twentieth century. Although much is known about his management of the International Society of Sculptors, Painters and Gravers as its vice-president, his close relationship with its president, James McNeill Whistler, in the years leading up to the latter's death in 1903, has not been fully described. During the preceding five years, the Irish painter established his London base, was frequently in Berlin and Paris, made his first visit to the United States, and retained his close connections with Glasgow where he executed a large mural for the City Chambers. While his movements cannot be accurately plotted following the society's foundation in 1898, the consistent feature of his work during these years was the influence of Whistler. Both revered the work of Velazquez and from Lavery's early days as one of the leading 'Glasgow Boys', the American had been a guiding hand. Lavery admired the older artist's ceaseless search for harmony in colour and tone, and observed his readiness to remove hours of strenuous, concentrated labour on a painting, if he was not satisfied with the result. This often led to scraping down the picture surface, and removing excess paint, so as not to 'embarrass the canvas' - as the American put it. Visiting Whistler in the nineties he would have had the opportunity to admire small sketches such as Rose and Silver: Portrait of Mrs Charles Whibley (fig 1). Although he later came to the opinion that contact with Whistler prevented him from 'painting with any vigour' for a time, it is undoubtedly true that some of Lavery's subtlest and most evocative portraits were painted as a result. In these the sitter was often unidentified and the works, when shown, were simply entitled according to their particular colour harmonies - hence, A Lady in Green. In the present case the sitter's identity continues to remain a mystery, as does the picture's early history prior to its arrival in Toronto. At that point it became the property of Ebenezer Forsyth Blackie Johnston KC, described by his peers in the Canadian Club as 'an earnest patron of the fine arts and an assiduous collector of high class oil paintings and watercolours'. And while Johnston's collection remains to be explored we may note his wider interests in modern Dutch art - Hague School painting that allied him closely with Lavery's early Scottish patrons. Lady in Green (fig 2) was thus a sophisticated purchase by a sophisticated patron, and it slips seamlessly into the general pattern of Lavery's painting in the years leading up to 1903. During that year he exhibited the portrait of Idonea La Primaudaye at the New Gallery - a picture which, like the present example employs a gilded ladder-back chair as its only visible prop (fig 3). Described as 'quiet, yet accomplished', the portrait of Miss La Primaudaye carries the same air of distinction evident in Lady in Green and it forms part of a sequence that includes ladies in pink, purple and black. These pictures were often described as 'evocations', rather than detailed studies of character and physiognomy. They were decorous rather than dutiful and in at least one instance, that of Nora (Private Collection), harmonies of colour and tone were considered so subtle that reproduction would fail to do it justice. The sequence was however, best summed up by James Stanley Little in 1902, when he wrote, … Mr Lavery's art grows on one. More and more, as one looks at it, its subtle charm, both in the sense of refined and elegant craftsmanship, and in the sense of spiritual and intellectual qualities, pervades the onlooker … Everything that leaves Lavery's easel has the stamp of finality and spontaneity upon it which marks the master hand. Such an encomium applies as much to the present work as to others of the period.
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