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John Lavery

Ireland (1856 -  1941 ) Wikipedia® : John Lavery
LAVERY John  Portrait Of The Artist's Wife

William Doyle /Nov 15, 2017
6,863.42 - 10,295.13
In progress

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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
478

Some works of John Lavery

Extracted between 478 works in the catalog of Arcadja
John Lavery - Evening, Montreux

John Lavery - Evening, Montreux

Original
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Lot number: 20
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Description:
Sir John Lavery RA RSA RHA (1856-1941) EVENING, MONTREUX Description: signed lower right; signed again and titled [Evening] on reverse; with typed exhibition label of Romney Galleries, Bradford on reverse; also with inscribed artist's label on reverse Dimensions: h:20 w:24in. Medium: oil on canvas board
John Lavery - Summertime

John Lavery - Summertime

Original 1904
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Lot number: 66
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Description:
Sir John Lavery, R.A., R.S.A., R.H.A. (1856-1941) Summertime signed 'J. Lavery' (lower left), signed again, inscribed and dated 'SUMMERTIME/TO/ MISS NANCY LA PRIMAUDAYE/WITH BEST WISHES/FROM JOHN LAVERY MAY 1904' (on the reverse) oil on canvas-board 10 x 14 in. (25.4 x 35.6 cm.) On 9 July 1904, the wedding of Nancy La Primaudaye to John Henry Montague Shaw took place at Brompton Oratory in London. The present study, inscribed \‘with best wishes\’, is likely to have been Lavery\’s gift to the bride. Nancy (b. 1869) was the eldest of three sisters from an illustrious French family, living in Jersey. She came to London around 1900 with her siblings and it is not known how all three met the painter. At various times they sat for portraits or, in the case of Idonea, the youngest, acted as a model, pupil and studio assistant, up to circa 1905. It is likely that the present study predates the inscription. Lavery\’s solo exhibition of \‘Cabinet Pictures\’, in which it appeared in November 1904, while presenting his recent travels in France, Spain and Morocco, also contained two pictures of the lake at Ranelagh Gardens, one of his favourite haunts, and the possible setting for Summertime. From the start of his career boating subjects were close to Lavery\’s heart. At Grez-sur-Loing in 1883 he was an onlooker as the more athletic members of the artist community took to the water in hired skiffs and canoes, and with The Bridge at Grez, 1883 (Private Collection) he achieved his first notable success – so much so that when it left for North America he resolved to retrace his steps and paint a new version, The Bridge at Grez (Ulster Museum, Belfast) in 1900. However, the conditions at Grez were to be found closer to home, on the Thames or at Ranelagh, and the picture of Miss La Primaudaye reclining in a punt would surely epitomise those idyllic Edwardian summer days. Such scenes not only represented relaxation, for the painter they provided a welcome escape from the exigencies of the portraitist\’s studio. The predictable palette was banished and there was an air of the impromptu in the handling. Indeed in the present instance Lavery\’s acuity as a spontaneous composer is much in evidence, in the bold lateral tiers of the skiff. It was a theme that never left him, and to which he would return in such works as The Thames at Maidenhead, 1913 (Private Collection) and Sutton Courtenay, 1917 (Hugh Lane Municipal Gallery, Dublin). Indeed, even in the 1930s the subject would reappear in sketches of the Henley and Maidenhead regattas. However, the present instance is more intimate: it represents a return to the theme of dolce far niente, which, for Lavery was now inextricably bound up with figures reclining in river boats. Comparisons with Sargent\’s St Martin\’s Summer (Private Collection), are apposite – although here even in a minor jeu d\’esprit, Lavery was more formal. KMc.
John Lavery - A Fair Spaniard, Mrs Chowne

John Lavery - A Fair Spaniard, Mrs Chowne

Original 1909
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Lot number: 27
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Sir John Lavery R.A., R.S.A., R.H.A. (1856-1941) A Fair Spaniard, Mrs Chowne signed 'J Lavery' (lower right); further signed, inscribed and dated 'A FAIR SPANIARD/MRS CHOWNE/JOHN LAVERY/TANGIER 09' (verso) oil on canvas 72.7 x 57 cm. (30 5/8 x 22 1/2 in.) Footnotes Provenance Sale; Bonhams, London, 18 October 1984, lot 25 With John Noott, Worcestershire, 11 November 1986, where acquired by the present owner Private Collection, U.K. Exhibited London, Colnaghi and Clarendon Gallery, Society Portraits, 1850-1939, 1985, cat.no.46 (ill.) In the early months of 1909, when Lavery was working at his studio on Mount Washington, outside Tangier, he received a visit from the young artist, Gerard Chowne and his wife. Almost twenty years younger than Lavery, Chowne had overlapped with William Orpen and Augustus John at the Slade School of Fine Art in the late nineties, and was now a prominent member of the New English Art Club. A distinguished flower painter, he was currently trying to expand his range and for a brief period around 1908 was seen as 'a zealous and not unsuccessful student of Lavery's methods' ('Art in Lancashire: Sandon Society Exhibition', Manchester Courier, 1 May 1908, p. 10). At this point Chowne was leaving Liverpool where he had been a university lecturer and founder of the Sandon Society of Artists, which he had encouraged Lavery to join as an honorary member. It is not known how the two artists met: they may have been introduced by R.B. Cunninghame Graham or William Rothenstein who had first encountered Chowne at Gibraltar in 1894. In the following years he and his wife spent more time painting in southern Spain and the south of France where in 1910 they were joined by Rothenstein's brother, Albert Rutherson. However the Lavery connection, prior to the production of the present canvas, remains obscure. Being so close to Andalusia, Tangier's Spanish links were strong, and recognizing the current vogue in London for pictures of Spanish beauties by painters such as Sorolla and Zuloaga, Lavery proposed that his two portraits of Mrs Chowne should contain easily identifiable Spanish elements (Mrs Chowne's parentage or possible Spanish ancestry remains obscure). She was however regarded as a woman of great beauty in the artist community. In The Spanish Hat, for instance, he observes that this one feature is adapted to an otherwise stylish European ensemble. In A Fair Spaniard, the national features are more obvious: the pieneta that would normally lift a mantilla, the floral hair-piece at the nape of her neck, and the magnificent silken manton or shawl that drapes her shoulders. This decorous wrapper, of the type reserved for the Feria at Seville, was much prized. It set Spanish women apart from those elsewhere in Europe and was used with great flourish in the flamenco (Havelock Ellis, The Soul of Spain, 1908 (Constable, 7th imp, 1924), pp.65-105). Lavery hails Mrs Chowne as 'a fair Spaniard', and while this refers to her beauty, it also alludes to her hair colour and the fact that she did not conform to the classic Andalusian facial type. Fair-skinned Spanish women were, according to contemporary sociologists, regarded as a relative rarity. Other classic Spanish female traits - coolness and self-possession, 'the quality of the gaze' – are there to see in Lavery's portrayal (Ibid, pp.80-5). We are grateful to Professor Kenneth Mc Conkey for compiling this catalogue entry.
John Lavery -  Portrait Of The Artist's Wife

John Lavery - Portrait Of The Artist's Wife

Original
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Lot number: 3
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Description:
3 Sir John Lavery , R.A. British, 1856-1941 Portrait of the Artist's Wife Signed J. Lavery (lr) Oil on canvasboard 13 7/8 x 10 inches (35.3 x 25 cm) Provenance: Ernest Brown & Phillips/The Leicester Galleries, London Orgel & Co., Private collection, CT, acquired from the above circa 1960, thence by descent in the family to the present owner C
John Lavery - Study For A Moorish Dance

John Lavery - Study For A Moorish Dance

Original 1892
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Lot number: 42
Other WORKS AT AUCTION
Description:
John Lavery (1856 - 1941) Lot 42: Sir John Lavery RA RSA RHA (1856-1941) STUDY FOR A MOORISH DANCE, 1892 Description: signed, dated and inscribed with title lower right; with James Connell & Sons [Glasgow] label on reverse; with Belfast Art Gallery and Museum label on reverse inscribed with title, and owner's details [Saml. E. Thompson, Edenderry House, Woodvale Road, Belfast] Dimensions: h:9.50 w:7.50in. Medium: oil on canvas
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